The Last 5 Years and Dogfight redux

The Last 5 Years
Second Stage
Saturday, May 4, 2pm

I’ve never seen a staged production of the show, so it was interesting to finally see the material on its feet.   And with composer Jason Robert Brown directing, I guess there’s also really no debate regarding the author’s intent.  I mean, he created the thing, so how can you argue that he’s “wrong,” right?

I’ve always admired the score but have wondered if the structure - simultaneous reverse timelines - would work onstage or if it was really just a gimmick, an intellectual experiment meant to impress a grad school theatre professor.  But I found myself fully engaged and at times, moved by this study of a relationship that blossoms unexpectedly, yet coasts to a sad, inevitable end.

Adam Kantor (Jamie) and Betsy Wolfe (Cathy) are giving heartfelt and vocally impressive performances, especially Wolfe.  An actor playing Cathy is at a distinct disadvantage given that her storyline begins as the relationship is already falling apart.  She begins the show as a shrill, sniveling mess, while Jamie starts the show off as a charming, lovestruck young man. 

Wolfe finds laughs in unlikely places, yet never to the detriment of the material.  Her high belt and mix is extraordinarily clean with no trace of break between belt and head.  For me the audition scenes, painfully familiar to any NYC actor, were a particular highlight.   And judging by the audience’s response, many of us were in attendance. 

I don’t mean to undermine Kantor’s contribution to the show, but let’s face it, Brown doesn’t hide the fact that the show is autobiographical.  Is there really any wonder why Jamie comes off as the sympathetic one of the pair?  I’ll even admit to some near-tears at the end of the “Schmuel Song.”

Now we shall wait for the movie.

Another Second Stage production, Dogfight, just released its original cast album.  I have to admit, I’ve been playing the song “Pretty Funny” on repeat for the last couple of days.  Heartbreaking.  I nearly cried on the subway on the way to work, but pretended to have an extreme allergy attack.

Sondheim’s Passion and Thongs Gone Wrong (though not at the same time)

Oh, the magic of Powerpoint.  Click to enlarge.

With temperatures peaking just above freezing here in the Big Apple, it’s inevitable we spot our first glimpse of douchebaggery in the form of fratboys donning over-sized basketball shorts to prove their dude-worthiness.  This ridiculous display of testosterone ranks just below fist bumping on the douchebag scale (see diagram at left).  On a side note, it's amazing what you can accomplish on your lunch hour at work and have access to Powerpoint.

Anyway, this beautiful spring day also marked the completion of my 2012 tax returns.  Thankfully, Uncles Sam will be direct depositing a nice fat Birthday check into my bank account shortly.

Speaking of douchebags, no self-respecting bro would be caught dead without a tasty ho at his side.  To that end, I present Exhibits A, B and C of the species hobagueus skankilia, as each emerges from her long winter hibernation to entrap the male of her species (Author's Note:  No hos were harmed during filming).

Exhibit A:  We stumbled upon this wily thong-stress prowling the happy hour crowds around the bar at Linen Hall in the East Village, where Trish and I had dinner following Passion (scroll down for review).  In order to mask our covert photo shoot, I leaned in for a candid shot with a mouthful of what is likely our subject's favorite after-drink snack, spicy nuts (pun intended).  Our subject - an NYU law student, if my ears didn't deceive - was last seen lasciviously beer-goggling two young males of the species, petting their sweaters and slurring softly, "Your nithe."  Things aren't looking very bright for the future of the American judicial system.

Exhibit A-1:  A closer look at our subject's "assets."  Can she honestly not feel the draft?

Exhibit B:  Though fully covered, this desperate lass from the ill-informed "House of Black-Is-Slimming," stopped at nothing to squeeze into the six inches of unoccupied space between our table and the bar.  In her sad attempt to cockblock our thong-stress (just visible at left), she freely flaunted her ample wares right in our faces - literally.  Luckily, I was able to move my plate away from the edge of the table before she imprinted on my steak sandwich.

Exhibit C:  This rare sighting of the elusive afro'd-ass-cracker was captured by my work colleague, Tina, on her way home on the exotic Q train.  Notice our subject's exaggerated hunched position, used to obtain maximum crack exposure and reflection on the seat back.  Friends, don't let friends ride the subway bare-assed.

I suspect that as the weather continues to improve, this type of gag-inducing, inappropriate behavior will only increase in frequency.  And speaking of socios-exual politics...

Passion
Classic Stage Company
Saturday, April 6, 3pm

I was giddy as an 11-year-old girl at a One Direction concert as I waited outside the CSC to see another one of my straight-crush (sorry Audra and Carolee), musical theatre idols, Judy Kuhn, perform the lead role in Passion.  I hadn't seen her live on-stage since my senior year in high school (gulp - 25 years ago!), in my first Broadway musical, Les Miserables.

Trish, cursed with bad subway karma, nearly missed the show.  But thanks to the traffic Gods and plain dumb luck, she ditched the subway, jumped into a cab and with two minutes to spare pulled up in front of the theatre.  We managed to take our seats just in time for the dimming house lights.

I'm happy to report that Ms. Kuhn did not disappoint this aging theatre queen.  She gives a subtle and almost - almost - sympathetic portrayal of the obsessive Fosca.  I mean, really, as written, even a brilliant performance by Mother Theresa would not likely produce a completely sympathetic Fosca.

Ms. Kuhn sounds gorgeous and teases the audience with the strategic use of her now signature Florence Vassy belt.  Otherwise, her singing is beautifully controlled and buttery smooth.  And you can never have too much butter according to Ms. Paula Deen.

The intimate configuration of CSC is optimal for this nearly sung-through chamber piece.  Having seen the original Broadway mounting of the show, it seems the actors necessarily needed to amplify their performances to fill the larger house.  The result was exaggerated performances that bordered on garish caricature.  In a small house, the actor's can be more "real" and thus the idea of the handsome and hunky Giorgio (Ryan Silverman) falling for the plain and sickly (rather than hideous and witch-y a la Donna Murphy) Fosca, doesn't seem so far-fetched.

I'm not sure if it's the staging or the actor (probably a combination of both), but in CSC's production, Passion is definitely Giorgio's journey of self-discovery.  On Broadway, Donny Murphy's unrelenting Fosca anchored the production.  It was all about her manipulation, consciously or not.  With the emphasis distributed more evenly between the three main characters, the story becomes less about Fosca's hot bag of crazy and more about the nature and meaning of love.

Though I'm still not quite convinced of the show's premise, this scaled down, intimate production presents a much more successful case for a show that had originally divided critics (as well as Sondheim fans).  What was downright laughable on a Broadway stage, now plays like the over-zealous behavior of a lonely woman.

Shout out to Orville Mendoza who is representin' the Pinoys as Sargeant Lombardi.  I had a the pleasure of sharing the stage with him in NAATCO's Off-Broadway production of Antigone several seasons back.  Between shows we had an impromptu reunion at Momofuku Milk Bar down the street from the theatre, where we noshed on cereal milk frozen yogurt and candy bar pie.  We also got to hear some show gossip, but I can't divulge that in writing.  You'll have to ask me about that in person. 

I also kept waiting to bump into Ms. Kuhn on the street so I could embarrass Trish by insisting on a private concert.  Well, actually, I would probably just hold Ms. Kuhn down until she agreed to belt out the lines "how high does the sycamore grow" and "I don't seeeeeeeee, a reason too be lonely."  If you aren't familiar with either of those phrases you should be immediately banned from Broadway and punished for your ignorance by having all the music on your iPod replaced with Sarah Brightman's version of "Think of Me" on an endless loop.

And Judy, if you're reading this, please reconsider that restraining order.